1929年西湖博覽會中的藝術展覽;The Art Exhibition in 1929 West Lake Exposition

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题名:	1929年西湖博覽會中的藝術展覽;The Art Exhibition in 1929 West Lake Exposition
作者:	古兆廷;Ku, Chao-Ting
贡献者:	藝術學研究所
关键词:	西湖博覽會藝術館;國立藝術院;大學院藝術教育委員會;全國美術展覽會;東皋社;林風眠;戴季陶;余紹宋;蔡元培;國貨運動;古物;國族認同;the Art Pavilion in West Lake Exposition;National Academy of Art;the Art Education Committee of the University Council;Shanghai National Fine Art Exhibition;Donggao Association;Lin Feng-mian;Dai Ji-tao;Yu Shao-song;Cai Yuan-pei;National Products Movement;the Antiquities;National Identity
日期:	2019-01-21
上传时间:	2019-04-02 15:16:13 (UTC+8)
出版者:	國立中央大學
摘要:	在1910年南洋勸業會舉辦近二十年後，1929年6月西湖博覽會──民國時期第一個全國性博覽會──在浙江杭州的觀光勝地西湖畔開幕。這二十年間，中國歷經接連的政治動盪，直到1927年南京國民政府成立，隔年底張學良宣布東北接受其統治，中國才在名義上完成國家的統一，並著手進行物質與精神方面的建設。1928年底，國民黨要人張靜江同時擔任中華民國建設委員會委員長以及浙江省政府主席，並企圖把浙江打造成國家經濟發展的模範省。1929年的西湖博覽會即是當時國貨運動的一部分，且以強化國族認同為目的在會中創設藝術館，試圖透過全國各地古蹟古物的展示，壟斷對中國政治與文化傳統的合法繼承權。值得注意的是，西湖博覽會中的藝術展覽借用國立藝術院的校舍與師資籌辦。1928年，國立藝術院在西湖畔成立並由林風眠主持，是當時國家首要的藝術教育機構，被賦予引領中國現代藝術發展的重任。起初西湖博覽會藝術館也由林風眠負責，然而就當展覽進行到一半時，在國民黨要人戴季陶對其觀展經驗表示不滿後，藝術館突發改組的劇變，由館長制轉為委員制，林風眠辭去館長一職，變成只是其中一位委員。自此以後，策展權轉移至杭州當地的東皋社──以余紹宋為核心的中國書畫團體──接著大量的西畫被撤離展場，取而代之的是更符合國貨標準的近代國畫，並增加古書畫與金石等古物的陳列。如同一個多月前的全國美術展覽會，這場全國性博覽會中的藝術展覽被期待呈現國家級的藝術成就。此前的1927-1928年間，在大學院院長蔡元培的重用下，林風眠曾擔任大學院藝術教育委員會的主任委員，並負責國立藝術院與全國美展的籌辦。不過隨著蔡元培的大學院制度改革失敗，林風眠先是喪失對全國美展的支配權，此時又失去在藝術館中的主導地位。林氏接連的挫敗，反映蔡元培以學院菁英領導中國藝術教育的期待不能落實。相較於同年稍早在上海舉辦的全國美展，西湖博覽會藝術館處於一個更為國民政府控制的框架內。這場展覽本應對中國藝術世界有重要的影響，但結果卻並非如此。相對地，政治力開始更緊密地涉入藝術、牽動著藝術的走向。 ;Following far from the 1910 Nanyang Exposition in the late Qing, the 1929 West Lake Exposition, the first national exposition of the Republic China, was held at the West Lake in Hangzhou, Zhejiang. During two decades, China has suffered successive political turmoil. With the establishment of the Nanjing National Government in 1927, and Zhang Xue-liang’s announcement by the end of the next year that Manchuria accepted authority of Nanjing National Government, the unification of China was done, at least in name. The latter then began to carry out a nationwide material and spiritual reconstruction. At the end of 1928, Zhang Jing-jiang, a Kuomintang dignitary, served as the chairman of National Reconstruction Commission and the Zhejiang Provincial Government, attempted to make Zhejiang a model province for national economic development. The West Lake Exposition was a part of the Chinese National Products Movements at the time, and an art pavilion was set up in the exposition to strengthen national identity. The official in charge of the organization of the exposition tried to monopolize the claim of legitimate heir of a long tradition, either political or cultural, through the display of ancient antiquities from all over the nation. It is worth noting that the art exhibition in West Lake Exposition was closely linked to the newly established National Academy of Art, also at West Lake in 1928. On the one hand, the art exhibition was mainly held in the school buildings of the National Academy of Art. On the other hand, the curator of the art exhibition Lin Feng-mian was also the director of the school, and the original members of the committee preparing the art exhibition were mostly teachers of the National Academy of Art. At that time, the National Academy of Art assumed the weighty responsibility of revitalizing the nation′s art education and the future of Chinese modern art. However, just halfway through the art exhibition, after Dai Ji-tao, another Kuomintang dignitary, expressed his discontent with the exhibition, Lin Feng-mian resigned, or was made resigned, from the position of the curator of the art pavilion. The curation of the art pavilion shifted to a committee where Lin Feng-mian served merely as a committee member, and the curatorial right was transferred to the local Donggao Association in Hangzhou, a Chinese art group with Yu Shao-song as key character. Afterwards, the art pavilion underwent a dramatic restructuring, whereby most of the Western paintings were replaced by contemporary Chinese paintings, in line with the standard of national products. In addition, a new accent was put on Chinese antiquities and ancient paintings. The art exhibition in this national exposition was expected to bear witness to the artistic achievement at the national level, as did Shanghai National Fine Art Exhibition a month earlier. Prior to the art exhibition in West Lake Exposition, from 1927 to 1928, with the support of Cai Yuan-pei, the president of the University Council, Lin Feng-mian served as the chairman of the Art Education Committee of the University Council. He was responsible for the preparation of the National Academy of Art and the Shanghai National Fine Art Exhibition. However, when Cai Yuan-pei’s reform of the education system broke down, Lin Feng-mian lost immediately the curation of the Shanghai National Fine Art Exhibition, and was removed from the direction of the art exhibition in West Lake Exposition a few months later. Lin Feng-mian’s successive defeats reflect that Cai Yuan-pei’s hope of guiding the Chinese art education by the school’s elite have failed. Compared with the Shanghai National Fine Art Exhibition held earlier in the same year, the art exhibition in West Lake Exposition was much more immersed in a politicized climate under the control of the Nanjing National Government. For an art exhibition which should have had a crucial impact on the Chinese art world at that time, the outcome was almost less than significant. In contrast, political issues began to become more closely linked to art making and dictated the course of art.
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